Preface to the Instructor |
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xv | |
Invitation to the Writer |
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xx | |
You... |
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xx | |
...and writing... |
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xxi | |
...and reading... |
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xxii | |
...and this book... |
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xxii | |
...and your journal... |
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xxiii | |
...and your workshop |
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xxvi | |
PART I The Elements of Chart |
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2 | (40) |
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3 | (4) |
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Concrete, Significant Details |
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7 | (4) |
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11 | (3) |
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14 | (5) |
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14 | (1) |
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from A Heartbreaking Work of Staggering Genius |
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15 | (4) |
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19 | (12) |
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19 | (7) |
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``Car Crash While Hitchhiking'' |
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26 | (5) |
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31 | (1) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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35 | (1) |
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36 | (1) |
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37 | (5) |
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37 | (3) |
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40 | (2) |
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42 | (44) |
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44 | (1) |
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45 | (2) |
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47 | (2) |
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49 | (6) |
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55 | (9) |
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55 | (8) |
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``Invitation to a Transformation'' |
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63 | (1) |
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64 | (10) |
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64 | (8) |
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72 | (2) |
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74 | (8) |
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74 | (1) |
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75 | (1) |
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76 | (1) |
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``Kong Looks Back on His Tryout with the Bears'' |
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77 | (1) |
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78 | (1) |
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79 | (1) |
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80 | (2) |
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82 | (4) |
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from Talking With . . . Handler and French Fries |
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82 | (4) |
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86 | (42) |
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87 | (2) |
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89 | (2) |
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91 | (3) |
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94 | (2) |
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96 | (1) |
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As Presented by the Author |
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97 | (1) |
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98 | (1) |
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99 | (7) |
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``The Inheritance of Tools'' |
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99 | (7) |
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106 | (9) |
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115 | (6) |
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115 | (1) |
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116 | (1) |
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116 | (1) |
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``Old man Hansen comes in at ten to'' |
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117 | (1) |
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118 | (1) |
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``Old Men Playing Basketball'' |
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118 | (1) |
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119 | (2) |
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121 | (7) |
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121 | (7) |
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128 | (50) |
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130 | (3) |
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133 | (3) |
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136 | (1) |
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137 | (2) |
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139 | (8) |
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139 | (2) |
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``Landscape and Narrative'' |
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141 | (6) |
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147 | (9) |
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147 | (9) |
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156 | (5) |
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156 | (1) |
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``Earthmoving Malediction'' |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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``Advice From the Extractor'' |
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159 | (2) |
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161 | (17) |
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161 | (17) |
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178 | (38) |
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179 | (2) |
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181 | (2) |
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As Connection/Disconnection |
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183 | (7) |
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190 | (4) |
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``Red Sky in the Morning'' |
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190 | (4) |
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194 | (8) |
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194 | (7) |
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201 | (1) |
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202 | (6) |
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``A Story About the Body'' |
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202 | (1) |
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202 | (1) |
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203 | (1) |
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204 | (1) |
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205 | (1) |
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206 | (2) |
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208 | (8) |
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The Battle of Bull Run Always Makes Me Cry |
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208 | (8) |
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216 | (26) |
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218 | (4) |
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222 | (4) |
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226 | (3) |
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229 | (8) |
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First and final drafts of ``One Art'' |
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229 | (2) |
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``The Opening of Time Lapse: a revision narrative'' |
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231 | (6) |
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237 | (1) |
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238 | (1) |
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239 | (3) |
PART II The Genres |
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242 | (30) |
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244 | (3) |
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247 | (4) |
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251 | (3) |
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254 | (18) |
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254 | (3) |
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``Those Words That Echo . . . Echo . . . Echo Through Life'' |
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257 | (4) |
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261 | (7) |
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268 | (4) |
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272 | (34) |
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273 | (3) |
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276 | (2) |
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278 | (3) |
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281 | (2) |
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283 | (23) |
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283 | (6) |
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``Your Fears Are Justified'' |
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289 | (1) |
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290 | (1) |
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``It's Water, It's Not Going to Kill You'' |
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291 | (11) |
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302 | (4) |
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306 | (30) |
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Free Verse and Formal Verse |
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308 | (2) |
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Imagery, Connotation, and Metaphor |
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310 | (2) |
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312 | (4) |
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Prosody, Rhythm, and Rhyme |
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316 | (6) |
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322 | (14) |
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322 | (1) |
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323 | (1) |
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``The Poet, Trying to Surprise God'' |
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323 | (1) |
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324 | (2) |
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``Romantic, at Horseshoe Key'' |
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326 | (1) |
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``Locking Yourself Out, Then Trying to Get Back In'' |
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327 | (1) |
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328 | (1) |
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``Black Silhouettes of Shrimpers'' |
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329 | (1) |
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330 | (1) |
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331 | (1) |
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``The Language of the Brag'' |
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332 | (1) |
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333 | (1) |
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``My Uncle Guillermo Speaks at His Own Funeral'' |
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334 | (2) |
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336 | (43) |
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The Difference Between Drama and Fiction |
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337 | (2) |
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Sight: Sets, Action, Costumes, Props |
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339 | (3) |
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Sound: Nonverbal and Verbal |
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342 | (5) |
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Some Notes on Screenwriting |
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347 | (2) |
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349 | (30) |
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349 | (8) |
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357 | (5) |
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362 | (5) |
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367 | (4) |
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371 | (8) |
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APPENDIX A Collaborative Exercises |
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379 | (8) |
APPENDIX B Formats |
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387 | (6) |
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1. Prose fiction and nonfiction |
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387 | (1) |
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387 | (1) |
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387 | (6) |
APPENDIX C A Basic Prosody |
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393 | (8) |
Glossary |
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401 | (6) |
Index |
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407 | |